The Mello Sound - Don Elliot And His Choir

 

Blue Waltz

The Mello Sound

Don Elliott with His Choir

Cover Photo: Lila from Rapho-Guillumette

Mood Jazz In Hi-Fi

Decca Records DL 9208

1958

From the back cover: The quiet and melodic, "a sound of beautiful simplicity", is what Don Elliott wanted in this album.

Elliott, the man of many instruments and interests, the utility man of jazz, has found a large share of satisfaction in extending outward in various directions.

"To stop trying new things is to stop growing," says Don. "I've been doing many things in recent months, trying new mediums of expression as well as variations on the old. This album is just such a variation.

"Doing a mood album with voices is something I felt I had to do. Why? Jud Conlon, the great vocal arranger, is an idol of mine. Listening to his work created an interest, stimulated a desire to try my had at vocal writing. But, there had to be something of my own inserted.

"I come from jazz. That would be at the difference. To combine the jazz feel created by horns and rhythm with compatible, enhancing writing for voices was my aim – that 'late evening' jazz mood, without saccharine."

Trying new things is nothing new for the multi-faceted Elliott. Beginning as a pianist in his hometown of Somerville, New Jersey, he soon switched to the accordion.

"That's the instrument I recommend most to beginners who want to learn about basic chords. It's all there for you, and in simple push button form" – said Don in an interview with George Simon in Metronome, a few years back.

Our quick change artist moved over to baritone horn in order to become a member of the school band. The mellophone came into his life when he joined the school symphony.

In an Air Force band, he blew trumpet. A little later, Don received a set of vibes in exchange for an extra trumpet, and proceeded to make friends with the instrument.

George Simon points out in his article that Don "junked the whole things (playing trumpet and vibes) and became a singer, singing mostly falsetto in the very successful group called Hi-Lo Jack and the Dame. That lasted almost two years, after which he went into the Copa, backing Lena Horne as an instrumentalist, when went over as a staff musician on New York's WMCA."

It was with the George Shearing Quintet that Elliott became a 'name'. George continually spotlighted his men, giving them ample opportunity to display what they could do. And, there were the records.

After a year with Shearing (1950-51), there was some band hopping; Terry Gibbs, Teddy Wilson, Benny Goodman and Buddy Rich all had Elliott on the payroll for short periods. Most often, Don could be found at the Down Beat Club – an important jazz club in the early 'fifties – giving vent to his ambidextrous tendencies, moving from one instrument to another with elan. It was obvious to interested onlookers that the only recourse for this musician of many parts was a group of his own. Only in that milieu could he fully exploit his talents.

Late in 1953, the move was made. With a showcase and home base, to boot, Elliott found himself, and has continued to grow outward.

Staying around New York – The Composer and Birdland, his main watering spots – Elliott has been able to reach into fields that interest him. 

Television, radio and the field of radio-TV commercials have been explored. In addition, he has continued to arrange and write –  six of the vocal arrangements in this set are his; three of the tunes, Elliott originals. Currently, the formation and rehearsal of a 'hip' vocal group is taking up a portion of his time.

"Though jazz is home to me, and 'blowing' remains an important part of my life, these various other activities lend variety to my life.  Variety prevents boredom, and the possibility of becoming too one-sided.

"My tastes in music reflect my attitude... For instance, on trumpet, Harry James and Charlie Spivak appeal to me, but so do Miles Davis and Bobby Hackett... (Ed. note – of one listens closely to Don in this set, his trumpet work bears out the width of his taste affiliations).

"The emphasis in this collection is placed on the mellophone sound; sometimes alone, other times voiced with clarinet or tenor. The sound of the instrument, the depth and character of its timbers, lend well to 'moody' playing.

"The playing by al concerned is fairly straight. Melodic values are emphasized. In the solo and ensemble portions, we tied for color and warmth. There's real warmth when melody is played as it should be.

"Most of the players on the album have worked with me before. Paul Motion, Ernie Furtado and Bill Evans have been in my group, and are the most flexible. Barry is so lyrical, and contributes both on supportive and solo levels.

"Hal McKusick plays all the reeds so well, and is especially persuasive during his solo stints on bass clarinet. And, let's not forget harpist Jan Putnam; she's one of the few harpists that works well in  the jazz environment.

"Billy Byers, just back in New York after an extended stay in Paris, did three of the vocal arrangements – Blue Waltz, Summer Scene and When The Sun Come Out (Ed. note – As previously noted, Elliott did the other six).

"In order to initiate change of pace, we recorded three tunes with just the small group, – Play Fiddle Play, I Don't Want To Walk Without You and Paper Moon – leaning more to a 'blowing' groove, but still remaining within the concept and framework of the album."

This is music soft to the senses, rich to the ear; an agreeable succession of sounds projected vocally and instrumentally. The orientation is jazz, the musicians from that clime; the voices lending symmetry, creating a cushion of sound for the instrumental soloists... This is mood jazz in the quiet sense of the word... – Burt Korall

From Billboard - April 21, 1958: This set can appeal in both pop and jazz markets. The six-voice choir has a warm, attractive sound on the pretty standards. Elliott is featured on mellophone, vibes and trumpet. The over all mood of the album is relaxed. The arrangements are by Elliott and Billy Meyers. This can move.

A Million Dreams Ago

It's Only A Paper Moon

Dinah

Blue Waltz

Poinciana (Song Of The Tree)

Play Fiddle Play

Summer Scene

Tired Of Me

I Don't Want To Walk Without You

When The Sun Comes Out

The Story Of A Starry Night

A Waltz